Not very pretty, but we sure know how to run things
Livin' in ruins of a palace within my dreams
And you know we're on each other's team"
Review: It's one hardcore hook-driven song, I was immediately grasped by the energy field of this chorus upon first listen. I was like, how could that stiff figurehead Royals follow itself up? We got that string pad for the ambience, groovy drums, that particularly huge layers of claps for the thickness, that buzzing of electricity for the tinges of electronics. It sounds magnetic, something from another dimension, something from outer space, yet something so down-to-earth, musical equivalent of mixed and uncanny. The melody's so hardcore that she's gotta make an impression at every turn, the way she sings "ci-i-ties" is like elevating turn-of-phrase and everything's so exclusive and important at the moment, whether it's pretentious or not, it's mixed right in. She's like, "but we sure know how to run things", it's like the continued sense of melody and a generation's bonding moment from Royals with pride for who one is. The melody's turning Trap Queen kind of yodeling to something so serious that it's gonna be reckoned with. The drum's intense and heavy, almost too hardcore, like something pounding at night outside of your window. Hardcore beat carrying such a catchy melody's what a hard-hitter. What does it mean to live in ruins of a dream-ville? Isn't it like, that crumby scenery and condition mentioned in the previous reviews? In a dark era, all was haunted by uncanny dreams of uncanny scenery of rooms, it's like the type of scenery the music video's trying to portray, barren somber suburban with abandoned buildings and water, jumbled, straight from another dimension, almost outlandish, a bunch of people around with different hairs, styles, facial distributes, yet subtly blended in the general tone, an universal as one type of statement subtly revealed from uncanny dreams. Yet sometimes that's the way it is, trapped in a reality that's outlandish and grey and crumby, haunted by loosely-remembered sceneries from dreams. But the chorus' not from an era that could really make a coherent statement about more profound stuff. It's not trying to make a big statement either. It's just trying to sound warm within a dark existence, trying to feel a sense of hope and tribute to those one'd like to call a "team". Even when it's wrapped up, somewhere in that half-electronics, there's reverberation, almost trying to look at the profoundness of nature itself, something high and aloof, the resonance could carry farther along the way. And it did just that.
Hint for #17: A group of mysterious young men were haunting the 001 train to Heaven and its 3 compartments that were going backwards whenever someone wanted to be cooler in the first class. Until the salesman sitting near them slipped them the note: "86 B 104 e 115 l 137 i 148 e 141 * 140 e 139 r 136 i 129 s 124 t 118 h 102 e 84 k 82 i 83 n 80 g"
Review: #17 for Despacito. Hot 100's song of summer of 2017. Here's to its robbed 17th week at #1 on Hot 100! Every time when I hear this chorus, I'm like: "Here we go!" Whoever, whatever and wherever I was, when I heard that "De-spa-cito", I stopped everything else and f**ked my way to the top. I just knew that it's calling timber to a world of chaos inside and outside. Just like Tunnel Vision from that summer's memory, one can only assume that the larger-than-life establishment visual is implied. That "STAND BY ME" on Daddy Yankee's hat, the non-English lyrics to play tongue-in-cheek with a country's music chart that's anything but, that sense of desperate pacing and a sense of urgency in how the chorus rolls out. I know something was calling on to me, I know Despacito was meant to be, but I just don't know if the word "Despacito" should look just like "desperato". I can feel it's about being slow and natural, but a sense of upbeat tempo and the sounding of a rush caught up to it. It's playing Sam Hunt in the most heroic way, taking it slow as fast as it can, and it's leading me on to be slow and fast at the same time. It's just like what that summer was trying to imply, there's no time to not be the coolest adventurer. Right after that obsessively crooning "De-spa-cito", it just enters into a hardcore show, that hard drum machine with tropical accompaniment being four-on-the-floor with a hold and swing, the pacing gets comfortable and mellowed down within the bound of the big fast stereotype of such an eventful anthem. It's taking it slow as fast as it can, as if some latin guitar clicks away, looking up the sky, there's paradise. It's just like crowd leading you on with feelings of great adventure in a big city that looked like a sandbox. It's just like '50s, it's just like the turn of the century, it's just like 2017, it's just like the whole world's situation suddenly caught up to you, it's just like, taunting the masses in a sandbox, inside and outside a psychotic turmoil. Wave after wave, every day it's rolling ahead, every day it's stumbling along the way. "Quiero respirar tu cuello despacito/Deja que te diga cosas al oído/Para que te acuerdes si no estás conmigo". Every line is chugging along, rolling along, every line's getting slightly higher. Every line's leading up to something, a step up for drama, "conmigo" is the best sense of bromance to culminate. What it did was that, it brought forth a sense of such neutrality in a world that's "flat", in a world that's hardcore "one way or the other", in a world everyone else's leading you on to look at the sea of illusions to take sides and deal with conflicts, and you're in a swamp of nature and happenstances' politics struggling to find yourself and the essential number: 1. I'm not exactly sure where does that sense come from in this chorus, but when its first half's high-action is mellowing into something just about that middle-raced coastal chillin', nuanced, fun and elastic delivery like "Firmo en las paredes de tu laberinto", it's nature mellowed into its hardcore objective form. And one's bother should just be from oneself, like it's supposed to be. I stared at the nature itself and was like: "What is that your labyrinth's leading to, what is that manuscript to read?" Despacito's chorus' every line's like from nature itself, a true manuscript from that era. I remembered myself counting up its weeks at #1, like, 11, 12, 13, 14... 15... 16!!!!!!!!!! It even high-profile achieved 17th week at #1 in Digital Song Sales and broke that "16-week" curse in any of Hot 100's component charts this decade. I'm always wondering, how much it means something, and if it's all meant to be.
Review: '80s electronics synth playing: 1221 1221 1331 1221 1221 122 1331 1223 1223 1221 1331 1221 1221 122 1331 1221 Three f**king notes, three most basic notes rotating and playing that triangular motion toward the horizon. I didn't even realize how much fantasy is hovering between the realness of me and the mechanical. But I guess this particularly iconic hook was set to tell me something. It sounds like on auto-pilot the whole sh*t, it's on techno the whole sh*t, it's not urban but it's a hard-hitter, the sh*t's super hot, it's the Nonstop of 2016 and 2017 transition. It's spinning its way toward the horizon, it's spinning the era toward the horizon, it's spinning me. It's spinning away at its 32 weeks in top 10. The sh*t's so auto, I initially thought it's a pre-programmed loop sold at 99 cent store, it sounds tight and auto-generated by the era, but damn, it's a fine little loop. When it started to grow on me, something about the quality this hardcore rotating loop of a chorus started to feel damn fine. The synthesizer choices all sound so solid, like, tight, focused, like a high-quality music box, with more mechanical involved. In each measure, a brush of synth strings to play the chords hits like statics, the same old half-notes like God's Plan. I don't give a hoot on what chords they're playing, The Chainsmokers' gon' be at the side of badass mechanical, the only chord they'll be playing is the word "hard". Honestly I didn't even f**king notice the straight percussions on the background, the sh*t clearly piloted by '80s techno synths, with more of an indie game and artistic tone, playing notes and chords on your face. Some groove they got, some nuance The Chainsmokers got that they had to play around with the notes or else it's gon' be straight up "1221 1221 1331 1221" like some sort of secret code, but it's more interesting than that, they gon' show off some music producer cred, adding that crisp clap sound on the second part of the hook and the synth shots at some point start to sound like with subtlety and groove after all, either it's really intentional or not. Listening to the entire chorus along, it's like a marching band with swagger. It's one top-of-the-era f**king chorus, sounds basic and techno enough to deserve some hi-hat that sounds like bicycle chains. It's rotating its way toward the horizon with angular momentum. The sea's fresh (kinda), the sea's always young. Sounds just like the kinda jam that'd carried and resonated the whole way through a beach city era before the music scene's visual got too hardcore. Existence is closer to one's heart as you think. We're never getting older.
Oh, I'm so mad I'm getting old, it makes me reckless
It was just like a movie
It was just like a song
When we were young"
Review: The reason why I ranked When We Were Young over Rolling in the Deep as the top Adele chorus is that, it has an extra edge in persona influence. Never thought a simple piano chorus could be remembered so well among the top tier of iconicity, yet here we are. Adele’s final fantasy before fading into 2016’s menace and poor longevity. It’s shimmering with likability to play it over and over like it’s a new thing from a new era, like it’s some most personal and dedicated art statement from Adele. The chorus hits right in, blended spontaneously, just a natural step up from the pre-chorus, isn’t it just like an ordinary song? But the time the grand piano hitting like a bass, the airy reverberation in the room and harmony, Adele projecting that old-fashioned British style in the melody and tone, you can feel it resonating subtly with the New England around and it’s catching on to the spring to thaw the icy atmosphere and a frozen lake of morose. Is there a backstory? Something about this chorus sounds like a story. She wanted to photograph and capture the moment of meeting someone, was he the most important one at the moment? That sh*t jumbled and uncertain tho. Most of the chorus’ one freakin’ long sentence. It’s like, Adele wanted to feel young, wanted to feel the classic relationship with that guy, but there’s no explanation on what the relationship was in the song, it’s playing that subtle abstraction where most messages are implied, even though the lyrics has that straightforward points where it’s not even funny anymore. She seemed to forget just how miserable and dreary the state of mind from the album 21 had been. So it’s a mixed baggage. It’s still entangled and sh*t. It’s like, he’s both around and leaving, and Adele subtly wanted a bout of change, didn’t want some entangling sh*t from darker times, as in, the dark scenery in Rolling in the Deep. Who’s the real protagonist, is it the singer, the guy, or the listener, or some energy that’s even higher? Piano’s playing those nondescript notes, it’s crooning and grooving into something more complex and intricate than Hello, it’s like, some high-tier music artist effort and statement. It just can’t be a coincidence. What Adele was trying to reflect in the epilogue of 19/21/25 trilogy with such stardom was the persona of basic and relatable human, that’s exactly how she got her iconicity in the first place, that universal appeal. Persona’s a word for kings and scholars, but for a chorus like When We Were Young, it’s making a play for the word “persona”, not directly, but rather subtly, watching it reverb and resonate through the jumbled air toward somewhere higher. “We were sad of getting old, it made us restless” is easily the most iconic Adele line. Every word’s delivered to resonate, every word’s to be close to heart to listen through. “We were sa-d of getting oold, it made us ree-e-st le-e-ss.” Those elongated syllabus and stuff, that “ree-e-st le-e-ss”’s like the final sense of lingering wrapping up 19/21/25 trilogy, looking up the sky, hoping the king of persona would be there to elevate the energy, hoping there’s fantasy somewhere, that’s such iconic yet universal feeling when caught on by larger-than-life energy. Adele’s obviously not just talking about getting old. Why would she so obsessively fixate on the concept of getting old? She’s obviously more scared of the dread and grossness of abject conditions inside and outside. “Oh, I'm so mad I'm getting old, it makes me reckless”, that moment of human connection in case something gon’ disappear into the thin air.
"Oh I think that I found myself a cheerleader" Most quotable line of 2010s, honestly. I'm not even sure if this song has a chorus. The "cheerleader" line sounds more like a transition without much instrumental going on. So, you're probably wondering, why the f**k would I rank this in the most iconic chorus list? That's because... it has topped my personal chart for like, 57 weeks. I gotta mention it somewhere. I am my cheerleader. I am the one and only!
Review: I don't know if I can justify putting this over the likes of Whatever It Takes based on the eras they asserted their major dominance, but a part of me had a sense of nostalgia thinking about mid-decade, and this chorus would always naturally come up in the corner of my memory as one of the top iconic ones in that era. It had its longevity, floating around in the corner of my consciousness and memory, hook playing that hardcore powerful card, yet most likely it's been playing longevity card, a sense of consistent and persistent power and catchiness, resistance of overplay. But a much bigger part of me has been raving about what it actually defined. It's from an era where everything's morphing into the mid-decade, it's less on edge, playing into an era more golden than 2000s and early 2010s. A sense of dignified and indie aesthetic was hovering around horizon, cut aloof from the illusional Hollywood pandering with big mechanical stuff. iPhone was truly becoming a thing in that era, Appstore, indie games and arcade. Radioactive defined that type of geeky visual in music scene. It's just like an indie game. That synth string buzzing like electricity, Dan's exuding power as the frontman of the best-selling rock, the manliest genre, band this decade. He's roaring over a drum beat that's the power of power, with that big and upbeat satisfaction yet it's like slow motion, that two bangs in each measure, it's like banging for a new era like there's really something big going on. At first, it's gonna sound just like going through the motion of creating something catchy, something accessible for a genre that got so much snooty authority energy. But then his repetition of "Welcome to the new age, to the new age/Welcome to the new age, to the new age" gains a different edge, as in something more intentional, something ejaculated straight from the protagonist himself supported by a wave of organic harmony with guitar clicks and bell sounds plucking on the background. It's a particularly catchy and attractive repetition, a new era's on the way. It's a definitive song that works with video games, it's a video game of a song, I know they're obviously playing it big and powerful, but it's never overwhelming like those scary action movies. It's the word "power" being used to create the sense of security for me. Daniel always sounds more human than most, something about the chorus always sounds intentional, something about the guitar clicks, the harmony, the bell sounds... even the electrical synth buzzing is just like a cool party in an indie game. It's no overwhelming or snooty type of power. It channels through an illusional world of electronics and steels and sharp mechanical, and turns it into something cool and sweet, just like the puppet fighting and cardboard aesthetics. I remembered watching its music video using an iPhone when it just became a thing... after floundering in a sense of emasculation and enervation brought from darkness. Been feeling Daniel's a king of music scene ever since. Then Believer happened, and it carried the adventurer in me even further.
Review: I know it has Rob Thomas sample, but it sounds just like its own chorus. This chorus just naturally hit my playlist and ambiently guided me toward a fantasy. And it's the word "adventure" we're all looking for. Like, it just sounds so full, it just sounds so... big. It's what "urban fantasy" should sound like, on top of an era where New England begins to emit that proud and aloof wave, and it's in the same league with Uptown Funk and Shake It Off. The music video speaks for the chorus itself. Arcade, club, casino... that turn-of-the-century visual, playing like a poker game, fighting with devil in the downtown underbelly. Compared to the sappy and nihilistic music scene, this chorus almost sounds like an odyssey, a hideaway from the phony mold the music scene's trying to shape songs the seedy hodgepodge listens to from. It's from the same era Kendrick Lamar's Campton reference was really a thing... read into that if you will. It's actually amazing just how rich the chorus sounds like, it raised up all the elements, giving that instant blast, yet still maintaining that indie band unique edge that can only be expected from this particular chorus. Bass buzzing like electricity, some organic electric guitar filling the void in the background, chords are played like a party. It's the only chorus with that obvious reggae influence that can actually turn the word "tropical" into something way cooler. That classic kick drum is playing only two, and reggae guitar is filling out every other beat, like, it's chillin' so hard but it's still so intense, the suspense, the adventure... it's just like Despacito of another era, being full-blown to be on top of an era's actions. And that sampled classic melody has that British gravitas and charisma, it's suspenseful, ambient and cool (reminds me of Troublemaker by Olly Murs), just like a timeless detective show. What can I say, it just has the word "adventure" written all over it one way or another. And I didn't even notice that before, but the melody and instrumental really have that jazzy chord progression feel in contrast of tone-deaf and repeating one or two chords over and over. "All I need's a little love in my life", "All I need's a little love in the dark", "A little but I'm hoping it might kick start" are like 3 similar melody lines in 3 different keys. The headnote's slipping to a lower note, slipping to the blues and moodiness the lyrics' trying to sell. Makes sense, right? It sounds honest af. It really does. Stop with those fake love songs (Ed Sheeran comes to mind, no wonder he has no entry on this list). The real devil is depression and illusion of smiley faces and idealism. Rixton knows that this decade looks more like "broken heart" than love, so they're conveying the truth about that time. Haunted by depression, even there's motivation to do something iconic, it's more like fits and starts through a bumpy road that could tap out of real energy any day, it's more like kick-starts, and we all need a miracle sometimes.
Review: This chorus f**king gave me fantasy. No need to drink or smoke, you can just listen to the chorus and get drunk on plain living. It's in the same league with Body Like a Back Road, Girls Like You, Trap Queen, etc, where the simplest melody with nostalgia wave hits the iconicity supreme spot. Surely, it sounds just like a set, it sounds just like a loop, it sounds just like the simple piano line's owning so much of what it is. Something basic, like a shell of a chorus. But I don't know, it struck me with fantasy and such catchiness that fantasy's gotta find its high spot because when that general darkness' so menacing during the decade, fantasy gon' feel like a rare moment. The R&B drum beat's among the intentional four-on-the-floor with slight nuance, the drum has that bassy solid feel, saving it from being completely simple. Well, it's not simple, it's more like a witness of the word "fun-tasy". That piano line literally hits from the first second, it sounds intimate, it sounds just like summer, it's playing the exact same melody as Snoop, Wiz and Bruno's chorus of vocal. Normally they should restrain from piano playing the exact same melody as the vocal because it's repetitive and not the most professional choice, but in this case, it works like a miracle. The same five-note melody line repeated three times but hardly feels monotoned. Nah-uh, no monotony. When it hit, it really felt like something so empowering that resonated in every line. It's like an anthem. It's more like, the decade got such tension and restrained energy that an anthem like this feels like god's empowerment anthem, everything about it was hit by the classic electromagnetic resonance around mid-decade and beyond. Everything about it used to sound so moving that it's just incredible. "So what we go out?/That’s how it's supposed to be" is like something straight from music scene's bible, so f**king quotable, "hanging out" is like the best activity and sentiment one can expect from other people. It's saying like, no need to complicate it, good stuff is what it's supposed to be. That classic energy really caught up to this chorus, those 3 generic rapper/singers team up and sound more iconic than The Beatles. I mean, the second half of the chorus starts off with that "meteor dropping" sound. It's like, something above, something like, so filtered from menace. It sounds just like "So what we smoke we". And just like that you get more truth than any illusion lets you believe.
The only country chorus in top 10. Who has the authentic southern pride? What if it's king Sam Hunt... or it's meant to be... or it features Taylor Swift or Luke Bryan... or it's none of them, because you see how "bold" are the artists?
Last Edit: Apr 15, 2019 9:34:56 GMT -5 by Deleted
Diamond Member can't come to the phone right now
BLACK LIVES MATTER
Joined: August 2014
Posts: 11,010 Pronouns: he/him
"What if I was made for you and you were made for me?
What if this is it, what if it's meant to be?
What if I ain't one of them fools just playin' some game?
What if I just pull you close, what if I lean in?
And the stars line up, and it's our last first kiss
What if one of these days, baby, I go and change your name?
What if I loved all these what ifs away?"
Review: Build on to what I said about Despacito, in the world that's "flat", in the world that's either one way or another, in the world that's either black or white, in the world that's either left or right, in the world where either others suck you right in with a sea of heated and biased illusions or you suck them right in. Pick side like a survival game, 2017 felt like nature's propaganda. It's like, you gotta be caught up in something, sometimes when I'm running, I forgot the meaning of the word "chillin'". What I learned about people and sceneries, and the music to carry them, they can get phony real fast and stay there if you're in a bad phase of energy set. And I kept worrying if the rocks, the sea and the sky, those coastal plants would get phony any minute as if an arcane painting. Some music and videos are too flashy or ganged up or pandering or creepy in scenery, (bot) fandom similar to propaganda, that you feel insulted, judged and unwillingly pulled in something that's hard to fight. It takes a miracle and a Kane Brown to find the word "mediterranean" in the midst of all that pulls and hauls. What Ifs got a chorus of anxious yet satisfactory culmination, but it's the most chillin' music I could find in a loooooooooong time. It's hard to think of anyone else more unique than Kane Brown in this decade's music scene, it's probably between him, Charlie Puth, The Weeknd and xxx to have the most unique one-man edge. His looks, the shape of his music and personality are incredibly classic and "in the middle" that it's almost perfection. It's really about persona and the whole resonance that make the chorus go so well. In a radical era where music scene sounded hardcore urban and techno with programmed and monotoned choruses with tons of hi-hats, What Ifs delivers a full-blown melodious human chorus. It's such a rare instance of a duet chorus where Kane and Lauren sing on top of each other, the way it sounds, it's like a corn-bred country romance show. But it feels way bigger than that when the melody really does seem to flare up to a satisfactorily catchy degree. It's just like Whatever It Takes, a melodious chorus in the midst of music scene's mechanical. The snare, cymbal sounds on top of that otherwise slow-paced linear garage beat add just the right amount of nuance and groove for the chorus. And that bass is like a killer, roaring like an engine and a great party when listening with headphones on. "What if I was made for you and you were made for me?/What if this is it, what if it's meant to be?" It really sounds like a whole package, the melody doesn't come cheap. It got that jazzy progression sound going on, like some country blues, the melody waltz and curves to the second line with lower notes like it's so f**king la-di-da that it is chillin' on your face, chillin' so hardcore. Country guitar with melodies and twangs filling in the void between lines so nicely. Kane Brown may only have baritone to compete with Lauren's high pitch filling out in the background, but I know it still sounds too much like his persona show. The "What if I ain't one of them fools just playin' some game?" line, Kane really asserts his attractive persona and it's like an advance, a step up from those "what ifs" and really shows that he's serious, he has faith, he believes in something, and not playing into shenanigans and distractions. And the second section starts with a bang of cymbal, they're talking about leaning in and star lining up like it's some old-schooled romance and that being classic is the real thing. "What if one of these days, baby, I go and change your name?/What if I loved all these what ifs away" sounds like an incredibly iconic line. As if they're not just talking to themselves, they're also talking to the audience. Changing to a new person, changing to a new era is hardly biggie. It's like he's asking: "Are you ready for it?" There's such sense of worry during a transition as big as life, there's a lot of paranoia, a lot of doubts, a lot of thinking too much just like Ride by Twenty One Pilots. But the mediterranean spirit teaches that, truth is way more moderate than those worries and head-pounding "what ifs". And that is what it's really about. In a "flat world" of either one way or another, in a year with propaganda visual, it's trying to sell struggling to stay natural and finding the perfection within the word "neutrality". Country music is known to have that natural chillin' effect, and What Ifs is one supreme country chorus, even when the melody flares up and sounds tense, it still feels like a lot of space, and it's more comfortable than most songs. A deeper meaning of "what ifs away" is really about giving one space. It gets the very authentic southern scenery going, it's considered neither West Coast or East Coast, it's some authentic "in-between" and neutrality when the two coasts feel like two distinct sides of conflict to get each other. Neutral and classic-looking Kane Brown lines up with country music lines up with an ongoing era where I need to hear that, stars line up in this chorus. The most unique and chillin' dude Kane Brown finds his own right in the top tier of this decade-end ranking.
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